The process of playwriting is given a peculiar wavelike rhythm in Miller's own story of his efforts to realize his intentions from one play to the other. Troughs of dejection on being exposed to unexpected critical and audience responses to a newly completed play are followed by swells of creativity informed by the dramatist's determination to make himself more clearly understood in the next one. This wavelike rhythm of challenge and response is the underlying structural principle of Miller's "Introduction" to his Collected Plays. Behind it one may suspect the workings of a radical distrust of his chosen medium. The present essay will consider some of the effects both of this distrust of the theater as a means of communication and of Miller's theories of dramatic form on his career as a dramatist.